ARTHUR FARWELL: PIANO MUSIC, VOLUME THREE by Lisa Cheryl Thomas

When Arthur Farwell, in his late teens and studying electrical engineering at the Massachusetts Institute of Technology, heard Schubert’s ‘Unfnished’ Symphony for the frst time, he decided that he was going to be not an engineer but a composer. Born in St Paul, Minnesota, on 23 March 1872,1 he was already an accomplished musician: he had learned the violin as a child and ofen performed in a duo with his pianist elder brother Sidney, in public as well as at home; indeed, he supported himself at college by playing in a sextet. His encounter with Schubert proved detrimental to his engineering studies – he had to take remedial classes in the summer to be able to pass his exams and graduated in 1893 – but his musical awareness grew rapidly, not least though his friendship with an eccentric Boston violin prodigy, Rudolph Rheinwald Gott, and frequent attendances at concerts of the Boston Symphony Orchestra (as a ‘standee’: he couldn’t aford a seat). Charles Whitefeld Chadwick (1854–1931), one of the most prominent of the New England school of composers, ofered compositional advice, suggesting, too, that Farwell learn to play the piano as soon as possible. Edward MacDowell (1860–1908), perhaps the leading American Romantic composer, looked over his work from time to time – Farwell’s fnances forbade regular study with such an eminent man. But he could aford counterpoint lessons with the organist Homer Albert Norris (1860–1920), who had studied in Paris with Dubois, Gigout and Guilmant, and piano lessons with Tomas P. Currier (1855–1929), a piano teacher and student and associate of MacDowell’s. Making his base in a pleasant attic room in Boston, Farwell was now set up to begin his new calling.

1 A detailed account of Farwell’s life and work can be found in Evelyn Davis Culbertson, He Heard America Singing: Arthur Farwell – Composer and Crusading Music Educator, Composers of North America, No. 9. Te Scarecrow Press, Metuchen (New Jersey), 1992. 2 Playing with other talented musicians was an obvious source of pleasure, and he spent the summer of 1896 at Lake Owasco, one of the eleven Finger Lakes in upstate New York, at the home of Tomas Osborn, his brother’s employer and himself a gifed pianist. Osborn enjoyed Farwell’s company enough to invite him on an all-expenses- paid tour of Europe, taking in Bayreuth and Nuremberg before continuing to Vienna, enjoying the concerts and operas on ofer and visiting a number of landmarks in the lives of Beethoven and Schubert. In autumn 1897, while still in Germany, Farwell sought out Engelbert Humperdinck, then 43 and at the height of his fame; Humperdinck looked over some of Farwell’s music and agreed to take him on as a student. Osborne then went back to America and Farwell stayed on in a pension in Boppard am Rhein, where Humperdinck lived at that time. Humperdinck, who refused to accept any money for lessons from Farwell all winter, took him along on work-engagements to Heidelberg and Frankfurt. ‘Te lessons were informal: I went up whenever I had sufcient work to show’, Farwell later wrote. ‘We would spend several hours over it, and my teacher-host would usually serve cofee and cigars, and sometimes a glass of yellow Marsala’.2 In March 1898 Farwell went to Berlin with Humperdinck, who had to be there to prepare for the frst performance of his opera Königskinder. It was here that Humperdinck introduced Farwell to some of his personal friends, two of whom would infuence the young composer: Hans Pftzner and James Grun, the poet who was then writing the libretto of Pftzner’s second opera, Die Rose vom Liebesgarten. Farwell spent the next fve months in Berlin, during which time Grun helped Farwell achieve a more spontaneous means of expression. Composition lessons with Pftzner, though valuable in the longer term, were a trial at the time: Farwell’s inexperience exasperated the intense and opinionated Pftzner, who made little attempt to disguise his impatience. Te pressure was such that Farwell’s health failed and, afer spending the frst part of the summer back in Boppard, he retreated to England to recuperate and to work on his Italian: the Humperdincks were intending to go to Italy in the winter of 1898, and Farwell was going to continue his studies with his teacher there. Meeting Humperdinck in Paris, he discovered that

2 Arthur Farwell, ‘Wanderjahre of a Revolutionist’ and Other Essays on American Music, ed. Tomas Stoner, University of Rochester Press, Rochester, 1995, p. 53. 3 the planned Italian trip was no longer on the cards, and so he decided to stay in Paris to study with Alexandre Guilmant. He returned to America in 1899 and to a lectureship at Cornell University, remaining on the staf there for two years.3 It was then that, in a bookshop in Boston, he discovered in Alice Fletcher’s Indian Story and Song,4 the transcriptions of Indian melodies which so sparked his interest that they set him on the path by which he is chiefy remembered today. Farwell had been fascinated with Indian music and life since boyhood, when his father used to take him on family vacations to a Sioux village in Minnesota, on the shores of Lake Superior. But it wasn’t until a year afer his encounter with Fletcher’s book, when looking at the original Omaha melodies without the harmonisation John Comfort Fillmore had added to Fletcher’s transcriptions, that Farwell realised the compositions he had written since his Damascene moment made more sense when he used the melodies only and abandoned the European harmonies imposed on them. It was then, too, that he felt the obligation to preserve the original cultural setting of the melodies he chose for his pieces. But Farwell’s reputation as an Indianist5 – which he soon grew to resent – has obscured what he achieved as a composer in his own right: his Indianist works account for only around ten per cent of his published output of well over one hundred opus numbers (for example, he also had a keen literary sense and wrote a series of Symbolistic Studies for orchestra). It is a persistent trait of Farwell’s music that it fows true to life, in that it is a living, breathing artwork, unpredictable, with constantly changing tempi, dyamics, expressions, moods and phrasing. Piano Sonata, Op. 113 (1949) Op. 113 is Farwell’s only sonata for solo piano, since an early Sonata in E fat, Op. 6, from 1899, is unfnished: one movement was completed, and since notes from a lecture

3 Just before taking up his position at Cornell, Farwell returned to Lake Owasco, enjoying a camping holiday on the eastern shore. Te experience resulted in a piano suite, Owasco Memories, Op. 8, published by the Wa-Wan Press in 1907. 4 Small, Maynard and Co., Boston, 1900. 5 For a detailed history of the Indianist movement, cf. my booklet essay with the frst release in this series of recordings, Toccata Classics tocc 0126. 4 the planned Italian trip was no longer on the cards, and so he decided to stay in Paris to recital Farwell gave on 25 March 1903 state that he played an Adagio from a Sonata in study with Alexandre Guilmant. E fat, it is presumed to be this same piece. Farwell composed two other late sonatas: one He returned to America in 1899 and to a lectureship at Cornell University, remaining for solo violin in G minor, Op. 96, in 1934, and another for cello and piano, Op. 116, in on the staf there for two years.3 It was then that, in a bookshop in Boston, he discovered 1950. Te Piano Sonata of 1949 was premiered on a radio performance on WQXR on in Alice Fletcher’s Indian Story and Song,4 the transcriptions of Indian melodies which 16 April 1975, in a programme called Listening Room, presented by Robert Sherman, so sparked his interest that they set him on the path by which he is chiefy remembered which focussed on Farwell’s music; the performer was Neely Bruce. Another guest on today. Farwell had been fascinated with Indian music and life since boyhood, when the programme, the musicologist Gilbert Chase, commented: his father used to take him on family vacations to a Sioux village in Minnesota, on the Tis sonata bears no resemblance, certainly no emulating resemblance, to any of the shores of Lake Superior. But it wasn’t until a year afer his encounter with Fletcher’s contemporary currents of that time. It seems to me that it took a man of great character book, when looking at the original Omaha melodies without the harmonisation John and great individuality to do that. When you think of how diferent it is from his early Comfort Fillmore had added to Fletcher’s transcriptions, that Farwell realised the works, you realize that here was a man who had a tremendous capacity for development compositions he had written since his Damascene moment made more sense when he and growth in every way – not only in spiritual ways but also creatively.6 used the melodies only and abandoned the European harmonies imposed on them. It was then, too, that he felt the obligation to preserve the original cultural setting of the Neely Bruce, the performer, felt that the sonata has a ‘technical ruthlessness surprising melodies he chose for his pieces. in a composer known chiefy as an arranger of Indian melodies’ – which was the kind But Farwell’s reputation as an Indianist5 – which he soon grew to resent – has of reputation Farwell fought for all his life. Neely also said of the Sonata that some of the passages were awkward to play and that Farwell had ‘pushed beyond what the piano obscured what he achieved as a composer in his own right: his Indianist works account 7 for only around ten per cent of his published output of well over one hundred opus can do – like Beethoven in his late sonatas – he really pushed the piano to its limits’. numbers (for example, he also had a keen literary sense and wrote a series of Symbolistic David Hall, a critic for Stereo Review, was very favourably impressed with the Sonata afer seeing the piano score and listening to a taped performance, calling the formidable Studies for orchestra). It is a persistent trait of Farwell’s music that it fows true to life, 8 in that it is a living, breathing artwork, unpredictable, with constantly changing tempi, technical challenges a ‘knuckle-buster’. dyamics, expressions, moods and phrasing. Te entire sonata has two main motifs: the permeating, persistent, declamatory falling ffh (from A to D), the frst and the last two notes of the work, and the more Piano Sonata, Op. 113 (1949) lyrical, questioning, ascending four-note stepwise theme (mi, fa, sol, la) that is Op. 113 is Farwell’s only sonata for solo piano, since an early Sonata in E fat, Op. 6, presented imediately afer the opening falling ffh. Tere is a third motivic idea that from 1899, is unfnished: one movement was completed, and since notes from a lecture briefy appears on several occasions to serve as a transition: it has a distinctive pattern of fve repeated staccato semiquavers (sixteenth notes), followed by three semiquavers 3 Just before taking up his position at Cornell, Farwell returned to Lake Owasco, enjoying a camping holiday on the eastern shore. Te experience resulted in a piano suite, Owasco Memories, Op. 8, published by the Wa-Wan Press in 1907. 4 Small, Maynard and Co., Boston, 1900. 6 Quoted in Culbertson, op. cit., p. 521. 5 For a detailed history of the Indianist movement, cf. my booklet essay with the frst release in this series of recordings, Toccata 7 Ibid., pp. 520–21. Classics tocc 0126. 8 Ibid., p. 522. 5 descending a half-tone, falling a perfect fourth, and jumping up a major third. Tis third bars before the end, the high treble sequential pattern is, in scale degrees:9 a descending motif appears sometimes accompanied by one of the other motifs in the other hand and 9–8–1 down a semitone to 7; this pattern is repeated in the next bar, and in the third sometimes in both hands in contrary motion. and fourth bars, but these two bars reverse the last two intervals – dipping down to Te opening introductory section, marked ‘Somewhat slowly’ 1 , is followed by a the leading tone and resolving up to the tonic pitch of the pattern (Farwell’s training chromatic section, to be taken ‘a little faster’ and more technically demanding, with as an engineer at work, perhaps). Ten four bars before this passage (ten bars before opposing chromatic work in both hands, even between both sides of the right hand, the end), plus a pick-up beat (i.e., the last beat of the previous bar), it has both the frst with chromatic notes executed with the little fnger alternated with chromatic notes and second motifs from the beginning of the Sonata sounding simultaneously with the executed with the thumb, two-against-three rhythms (hemiolas), and with both main ascending four-note motif passing between both hands while the falling ffh overlaps it motifs present. Tis passage is followed by a slightly slower, very delicate and tender in octaves. Te loud falling-ffh motif sounds in octaves, with the ascending four-note section, with triplet rhythms in the lef hand and a playful, delicate idea taken from motif overlapping from the middle voice. Tese overlapped motifs happen twice and the falling-ffh motif, accelerating and moving next into a four-against-three rhythm, extend into the high melodic interval pattern described above. Te supporting harmony staccato and with dramatic dynamics. Tis idea of four notes in one hand against three that results alternates, as in the Prokofev example, between augmented and diminished, notes in the other hand then swaps hands, with those rhythms every bar or so for a and minor and major, harmonies. while, presenting a mental challenge for the performer in maintaining an even transition Evelyn Davis Culbertson’s study of Farwell implies that this work is in sonata form each time it swaps, and the piece continues with varying and contrasting treatments of in view of its extensive development.10 I have to disagree with that judgement. It is, the two main motivic ideas, including contrary motion, rhythmic fgures taken from rather, a variation work, since throughout it is based on variation of its three motifs the inversion of the second motif, falling intervals in distortions of the falling ffh and and is thus another of the works in free-variation form, descended from the Classical altered rhythm of the falling ffh as frst presented, triplet rhythms, two-against-three theme-and-variations form, encountered in late-nineteenth- and early-twentieth- rhythms, chromaticism, wide leaps in both hands, and fve-against-three rhythms, all century music, strongly infuenced by the character variation, such as Elgar’s ‘Enigma’ the while growing in intensity and technical demands. Indeed, the Sonata pushes both Variations, the Franck Variations symphoniques and Strauss’ Don Quixote. In variation piano and pianist to their limits, demanding increasingly difcult technical execution form(s), a distinction must be noticeable in the preservation of the original themes, from the player. Te dramatic close is reminiscent of Prokofev, particularly the Andante as opposed to development technique, which unfolds the theme into expanded ideas assai middle section of the First Piano Concerto (1912), where the melody note in instead of keeping the original theme distinctly recognisable.11 In the free-variation the high treble falls in intervals of a descending half-tone and then falls a seventh, at form of the early twentieth century, variation harmonic patterns can be diferent from which point the melodic phrase resolves with a fat second scale degree to the tonic the harmonic patterns in the original theme(s), and the length of the variations of the pitch (not the tonic harmony); then the melodic phrase repeats a half-tone lower than motifs can vary widely. Farwell’s themes are not stated in the typical sonata keys of tonic the melody note to which it had just resolved (or a tritone lower than the frst melody note of the frst phrase), afer which the next melodic phrase begins a tritone below 9 Tere are eight degrees in a diatonic scale, counting the tonic on both ends of the scale, so that 9 means an octave plus a whole tone above the lower tonic, and 8 is the tonic an octave higher than 1. the frst melody note of the second phrase. And likewise, in the Farwell Sonata, six 10 Ibid., p. 521. 11 John D. White, Te Analysis of Music, Prentice-Hall, Englewood Clifs (N.J.), 1976, p. 63. 6 descending a half-tone, falling a perfect fourth, and jumping up a major third. Tis third bars before the end, the high treble sequential pattern is, in scale degrees:9 a descending motif appears sometimes accompanied by one of the other motifs in the other hand and 9–8–1 down a semitone to 7; this pattern is repeated in the next bar, and in the third sometimes in both hands in contrary motion. and fourth bars, but these two bars reverse the last two intervals – dipping down to Te opening introductory section, marked ‘Somewhat slowly’ 1 , is followed by a the leading tone and resolving up to the tonic pitch of the pattern (Farwell’s training chromatic section, to be taken ‘a little faster’ and more technically demanding, with as an engineer at work, perhaps). Ten four bars before this passage (ten bars before opposing chromatic work in both hands, even between both sides of the right hand, the end), plus a pick-up beat (i.e., the last beat of the previous bar), it has both the frst with chromatic notes executed with the little fnger alternated with chromatic notes and second motifs from the beginning of the Sonata sounding simultaneously with the executed with the thumb, two-against-three rhythms (hemiolas), and with both main ascending four-note motif passing between both hands while the falling ffh overlaps it motifs present. Tis passage is followed by a slightly slower, very delicate and tender in octaves. Te loud falling-ffh motif sounds in octaves, with the ascending four-note section, with triplet rhythms in the lef hand and a playful, delicate idea taken from motif overlapping from the middle voice. Tese overlapped motifs happen twice and the falling-ffh motif, accelerating and moving next into a four-against-three rhythm, extend into the high melodic interval pattern described above. Te supporting harmony staccato and with dramatic dynamics. Tis idea of four notes in one hand against three that results alternates, as in the Prokofev example, between augmented and diminished, notes in the other hand then swaps hands, with those rhythms every bar or so for a and minor and major, harmonies. while, presenting a mental challenge for the performer in maintaining an even transition Evelyn Davis Culbertson’s study of Farwell implies that this work is in sonata form each time it swaps, and the piece continues with varying and contrasting treatments of in view of its extensive development.10 I have to disagree with that judgement. It is, the two main motivic ideas, including contrary motion, rhythmic fgures taken from rather, a variation work, since throughout it is based on variation of its three motifs the inversion of the second motif, falling intervals in distortions of the falling ffh and and is thus another of the works in free-variation form, descended from the Classical altered rhythm of the falling ffh as frst presented, triplet rhythms, two-against-three theme-and-variations form, encountered in late-nineteenth- and early-twentieth- rhythms, chromaticism, wide leaps in both hands, and fve-against-three rhythms, all century music, strongly infuenced by the character variation, such as Elgar’s ‘Enigma’ the while growing in intensity and technical demands. Indeed, the Sonata pushes both Variations, the Franck Variations symphoniques and Strauss’ Don Quixote. In variation piano and pianist to their limits, demanding increasingly difcult technical execution form(s), a distinction must be noticeable in the preservation of the original themes, from the player. Te dramatic close is reminiscent of Prokofev, particularly the Andante as opposed to development technique, which unfolds the theme into expanded ideas assai middle section of the First Piano Concerto (1912), where the melody note in instead of keeping the original theme distinctly recognisable.11 In the free-variation the high treble falls in intervals of a descending half-tone and then falls a seventh, at form of the early twentieth century, variation harmonic patterns can be diferent from which point the melodic phrase resolves with a fat second scale degree to the tonic the harmonic patterns in the original theme(s), and the length of the variations of the pitch (not the tonic harmony); then the melodic phrase repeats a half-tone lower than motifs can vary widely. Farwell’s themes are not stated in the typical sonata keys of tonic the melody note to which it had just resolved (or a tritone lower than the frst melody note of the frst phrase), afer which the next melodic phrase begins a tritone below 9 Tere are eight degrees in a diatonic scale, counting the tonic on both ends of the scale, so that 9 means an octave plus a whole tone above the lower tonic, and 8 is the tonic an octave higher than 1. the frst melody note of the second phrase. And likewise, in the Farwell Sonata, six 10 Ibid., p. 521. 11 John D. White, Te Analysis of Music, Prentice-Hall, Englewood Clifs (N.J.), 1976, p. 63. 7 and dominant, but in many diferent keys and chromatic possibilities, and there is no extended dwelling on the dominant harmony before a ‘homecoming’ recapitulation that is characteristic of textbook sonata form. Even so, the distinctive falling ffhs at the opening and close of the work are both in the tonic, falling from A to D. For Cynthia (1942) Farwell had fve children from his frst marriage, to Gertrude Everts Brice, then a 25-year-old actress. Tat relationship ended in divorce in 1937; he married Betty Richardson (a former student 40 years his junior) two years later and his sixth and youngest child, Cynthia, was born in November 1941, when her father was 69. Composed when she was one year old, For Cynthia 2 , with a tempo marking of ‘Delicate and rhythmic, not too fast’, depicts the simple worry-free life of a little toddler. Tis playful, delicate and feminine piece was written afer his Two Little Poems for Piano, Op. 106, ‘Girl Singing’ and ‘Strange Dream’. For Cynthia, which is 2 reminiscent of ‘Girl Singing’, is in aba form, and 4 metre. Te a sections have a very distinctive melodic and rhythmic motif of two quavers (eighth notes), a semiquaver rest and a semiquaver, all in a triplet grouping followed by two quavers, two more quavers and a crotchet (quarter note). Tis ‘skipping’ melody and rhythm is stated several times in both a sections. Te b section, marked ‘tenderly’, with the tempo marking ‘a little slower’, uses a descending stepwise idea. Laughing Piece (1914, rev. 1940) Culbertson writes that ‘Farwell had a good sense of humor and tried to express this quality in several compositions. An earlier efort to be humorous was a solo titled: Laughing Piece, written in 1914, and revised in 1940’.12 Laughing Piece 3 is one of many tone poems composed during his Michigan period. Culbertson continues: Te revised Laughing Piece, written predominately with staccato notes, is to be played ‘light and jocularly’. It features a jaunty melody. Scalar passages made up of small intervals should be worth the efort needed to create the ‘jocular’ mood intended.

12 Op. cit., p. 515. 8 and dominant, but in many diferent keys and chromatic possibilities, and there is no Another humorous piece is Happy Moment. His humorous pieces ‘balance what might extended dwelling on the dominant harmony before a ‘homecoming’ recapitulation that otherwise picture Farwell as a long-faced serious idealist, but Sara Farwell [his daughter] is characteristic of textbook sonata form. Even so, the distinctive falling ffhs at the remembers how jovial he could be’. 2 opening and close of the work are both in the tonic, falling from A to D. Laughing Piece has a time-signature of 4 and the tempo marking ‘Moderately, with motion’. Te laughter is portrayed by continuous staccato paired double cluster For Cynthia (1942) chords. Most of the cluster chords are two minor thirds stacked only a whole tone apart, Farwell had fve children from his frst marriage, to Gertrude Everts Brice, then a sounding in semiquaver (sixteenth note) pairs. Tese pairs alternate with another pair 25-year-old actress. Tat relationship ended in divorce in 1937; he married Betty of semiquaver clusters consisting of a stacked minor third with a whole tone added on Richardson (a former student 40 years his junior) two years later and his sixth top, each pair being separated by an octave plus a minor third from the highest note and youngest child, Cynthia, was born in November 1941, when her father was to the lowest. Te cluster chords are in the right-hand treble, and are in semiquavers, 2 69. Composed when she was one year old, For Cynthia , with a tempo marking suggesting ‘ha ha’ with two identical clusters, followed by another ‘ha ha’ on two other of ‘Delicate and rhythmic, not too fast’, depicts the simple worry-free life of a little identical clusters in a string of six double clusters in a jaunty back-and-forth descending toddler. Tis playful, delicate and feminine piece was written afer his Two Little fashion, followed in turn by three ascending staccato scales in F minor, E fat major and Poems for Piano, Op. 106, ‘Girl Singing’ and ‘Strange Dream’. For Cynthia, which is 2 what seems to be D minor but is in truth an E fat major scale starting with D (the seventh reminiscent of ‘Girl Singing’, is in aba form, and 4 metre. Te a sections have a very of the scale), with D minor chords in the lef hand. Te form is aba, with the short b distinctive melodic and rhythmic motif of two quavers (eighth notes), a semiquaver theme, a legato melody stated twice, the second time an octave higher, giving respite rest and a semiquaver, all in a triplet grouping followed by two quavers, two more from all the staccato; it is then followed by a descending staccato semiquaver transition quavers and a crotchet (quarter note). Tis ‘skipping’ melody and rhythm is stated back to the a section, using the original cluster chord pitches. Seven bars later, there is several times in both a sections. Te b section, marked ‘tenderly’, with the tempo one short two-bar hemiola (two-against-three) rhythm, followed by another two bars marking ‘a little slower’, uses a descending stepwise idea. of semiquaver ascending scales that separate the a theme with original cluster-chord Laughing Piece (1914, rev. 1940) pitches from the next statement of the theme a semitone higher, and continuing with Culbertson writes that ‘Farwell had a good sense of humor and tried to express this higher and higher restatements and ascending staccato scale passages and contrary- quality in several compositions. An earlier efort to be humorous was a solo titled: motion staccato scales. Te last staccato scale is in contrary motion on the dominant, Laughing Piece, written in 1914, and revised in 1940’.12 Laughing Piece 3 is one of many B fat, followed by a fnal ‘ha’ on E fat. tone poems composed during his Michigan period. Culbertson continues: Two Little Poems for Piano, Op. 106: No. 2, ‘Strange Dream’ (1942) Te revised Laughing Piece, written predominately with staccato notes, is to be played ‘Strange Dream’ 4 is an impressionistic tone poem, in aba form and common time. ‘light and jocularly’. It features a jaunty melody. Scalar passages made up of small intervals Te opening theme presents a string of chords built by stacking the interval of a tritone should be worth the efort needed to create the ‘jocular’ mood intended. and adding a major third to the top note of that tritone – the resulting top melody from these chords is a falling perfect fourth, followed by an ascending minor third, then 12 Op. cit., p. 515. 9 beginning again one whole tone lower, and continuing this pattern like a linked chain. Te a theme is eight bars long, with the opening harmonies stated twice and resolved to the tonic, G. Te chromatic b section builds to an accelerando and climax of a slowly arpeggiated chord – the same chord that started the a section, built by stacking a tritone and adding a major third to its top note. Afer a fermata, the a section returns with the same chord that the b section ended with in arpeggiation, but the second statement is extended into two extra bars, climbing to a higher register, and extending into a codetta of the a-section harmonies and interval scheme, ending slowly with three arpeggiated harmonies, G major, B fat minor and a fnal G major. In the Tetons, Op. 86 (1930) Farwell wrote this suite inspired by the Teton mountains, a place he loved afer spending a summer vacation there.13 He was intending to compose two suites with fve pieces each, but in the end wrote only seven pieces. Te frst, ‘Granite and Ice’ 5 , is in a chromatic D minor, with large, heavy, accented chords. ‘Lonely Camp Fire’ 6 , in A minor, is quite a contrast, with sofer passages and subtleties, and with light, playful ascending staccato scales at the end. ‘Arduous Trail’ 7 is a humoresque in F minor, with a brisk, trudging rhythmic movement portraying hiking on a challenging trail. Periodically, there are sweeter refective moments, with text supplied in the score. At the end of the frst page, Farwell indicates: ‘Leaning against a tree, breathing, and listening to the birds’. Ten again, at the end of the second page, he writes: ‘Leaning against a tree, breathing, and listening to the brook’. For this visualisation, he uses minor sixths a whole tone apart, rocking back and forth, and then a third apart. It concludes with a more dramatic trudging theme in f and ff, as if the pinnacle of the mountain trail has been reached, and it stops with a celebratory F major ff chord, a three-and-a-half-octave ascending run, and two more ff F major chords. ‘Wild Flower’ 8 is very simple, and a stark contrast to the previous piece. Farwell wrote ‘Homage to MacDowell’ on the manuscript. It was published by Schirmer in another version in 1941, with a title given to it by the

13 Te Grand Teton National Park, in north-west Wyoming, encompasses 310,000 acres, including the Teton Mountain range and the Jackson Hole valley and the famous 4,000-meter-high Grand Teton peak. 10 beginning again one whole tone lower, and continuing this pattern like a linked chain. publisher, ‘Purple Lupine’. ‘Wind Play’ 9 , marked ‘Moderately fast, well nuanced’, is an Te a theme is eight bars long, with the opening harmonies stated twice and resolved octave study for the right hand, with a running bass line, both in continuous quavers. To to the tonic, G. Te chromatic b section builds to an accelerando and climax of a slowly me it suggests the wind tossing fallen autumn leaves in unpredictable circles. ‘Te Peaks arpeggiated chord – the same chord that started the a section, built by stacking a tritone at Night’ 10 , marked ‘Slowly, but with motion’, begins ppp and ‘mysteriously’, and never and adding a major third to its top note. Afer a fermata, the a section returns with the gets louder than piano. It has a unifying triplet fgure throughout, which is sometimes same chord that the b section ended with in arpeggiation, but the second statement is presented in unison pitches in three diferent octaves, using both hands, and sometimes extended into two extra bars, climbing to a higher register, and extending into a codetta against groups of four staccato semiquavers in the other hand. Te staccato semiquavers of the a-section harmonies and interval scheme, ending slowly with three arpeggiated pose a technical challenge, since they are all spaced at diferent interval spacings and harmonies, G major, B fat minor and a fnal G major. marked pianissimo. 14 In the Tetons, Op. 86 (1930) Farwell stated that if he didn’t manage to complete a second book of In the Tetons, Farwell wrote this suite inspired by the Teton mountains, a place he loved afer spending ‘Wind Play’ should be performed as the ffh movement, and ‘Te Peaks at Night’ as the a summer vacation there.13 He was intending to compose two suites with fve pieces each, sixth. Tat points to an original plan whereby ‘Te Peaks at Night’ was originally in ffh but in the end wrote only seven pieces. Te frst, ‘Granite and Ice’ 5 , is in a chromatic position, with ‘Wind Play’ and the unfnished seventh piece, ‘Big Country’, intended 6 for the second suite. He also condoned performances of individual pieces from In the D minor, with large, heavy, accented chords. ‘Lonely Camp Fire’ , in A minor, is quite 15 a contrast, with sofer passages and subtleties, and with light, playful ascending staccato Tetons on their own – but he was lef ‘hopping mad’ by Schirmer’s separate publication scales at the end. ‘Arduous Trail’ 7 is a humoresque in F minor, with a brisk, trudging of the easier pieces from In the Tetons, because they would sell easily, but not the more rhythmic movement portraying hiking on a challenging trail. Periodically, there are challenging pieces that showed of his talent and skill as a composer. sweeter refective moments, with text supplied in the score. At the end of the frst page, What’s in an octave?, Op. 84 (1930) Farwell indicates: ‘Leaning against a tree, breathing, and listening to the birds’. Ten What’s in an octave? 11 is hugely intriguing. Te entire piece happens between two again, at the end of the second page, he writes: ‘Leaning against a tree, breathing, and Fs in the range of only one octave, as the title suggests. Both notes sound in unison, listening to the brook’. For this visualisation, he uses minor sixths a whole tone apart, droning in slow crotchet rhythm for the entire opening and closing a sections, while rocking back and forth, and then a third apart. It concludes with a more dramatic the melody weaves between both hands in the inner voices. Te middle, b, section is trudging theme in f and ff, as if the pinnacle of the mountain trail has been reached, a four-voice fughetta, in a faster tempo, and without the drones. Te ending fades out and it stops with a celebratory F major ff chord, a three-and-a-half-octave ascending with the droning Fs in longer and longer note-values, until a fnal single F is suspended run, and two more ff F major chords. ‘Wild Flower’ 8 is very simple, and a stark in the stillness. Farwell wrote a quotation from Pythagoras on the manuscript: ‘All the contrast to the previous piece. Farwell wrote ‘Homage to MacDowell’ on the manuscript. knowledge of music is to be found within the octave’. It was published by Schirmer in another version in 1941, with a title given to it by the

13 Te Grand Teton National Park, in north-west Wyoming, encompasses 310,000 acres, including the Teton Mountain range and 14 Culbertson, op. cit., p. 510, quoting from a marginal note on the manuscript of ‘Wind Play’. the Jackson Hole valley and the famous 4,000-meter-high Grand Teton peak. 15 Culbertson, op. cit., p. 510. 11 From Mesa and Plain: No. 1, ‘Navajo War Dance’ (1904) Farwell’s ‘Navajo War Dance’ 12 , composed in 1904 as the frst piece of his suite From Mesa and Plain, Op. 20,16 was one of his most successful pieces, and one of the few to enjoy performance and recording in recent years. Te opening section is marked ‘With intensity, not too fast’ (with the further direction in the score of mormorando), and ‘With severe precision of rhythm throughout, and savagely accented’. Te opening 9 6 two bars are in 8 and the rest of the piece is 8. Te opening tempo increases gradually as the piece progresses, and its accents become sforzandi in fortissimo passages. It is 9 6 monothematic. Afer a two-bar ‘drum beat’ introduction in 8, the seven-bar theme, in 8, with a chromatic eighth bar of transition at the end, is stated twice on G (starting pitch) and then once on D, but only fve bars in length this time, plus a sixth chromatic transition bar; then comes another seven-bar statement on G plus a chromatic transition bar, and another fve-bar statement on D, this time followed by two emphatic bars emphasising tritones. Tere follows a section labelled ‘A little faster’, which is an extension of the opening theme, on a higher pitch, A, with similar rhythm; it forms a central section. Te frst part of the theme is stated once more, abbreviated, f and in the highest register of the piece, seven bars before the end. Each statement of the theme is preceded by an ascending chromatic scale with the hands a fourth apart. Tere are two versions of Navajo War Dance No. 1, one considerably shorter than the other (here I play the longer of the two). Te last chromatic passage in the shorter version descends. Te longer version ofers 39 further bars of the same rhythms and passagework and then uses a longer glissando at the end and a characteristic Native 6 American rhythm, which changes the rhythm from two main accents per bar in 8 to 3 a feeling of 4 with three main accents per bar, for two bars, before the fnal two bars. Farwell orchestrated the longer version as a movement in his Indian Suite, Op. 110, of 1944. Here he requests the strings to exert scratchy pressure on the strings, asking that it should always be marcato and to be sure to begin it slowly enough.

16 ‘Pawnee Horse’, No. 2 of From Mesa and Plain, was recorded on my second volume of Farwell’s piano music, on Toccata Classics tocc 0222. 12 From Mesa and Plain: No. 1, ‘Navajo War Dance’ (1904) Navajo War Dance No. 2, Op. 29 (1904) Farwell’s ‘Navajo War Dance’ 12 , composed in 1904 as the frst piece of his suite From Soon afer the frst ‘Navajo War Dance’, Farwell wrote another one – both were composed Mesa and Plain, Op. 20,16 was one of his most successful pieces, and one of the few in 1904 – and published it as a free-standing piece, his Op. 29. Navajo War Dance No. 2 13 to enjoy performance and recording in recent years. Te opening section is marked is the more directly representative of the irregularities to be found in Native American ‘With intensity, not too fast’ (with the further direction in the score of mormorando), rhythm. A longer piece than either version of the frst dance, it changes metre frequently. 4 3 and ‘With severe precision of rhythm throughout, and savagely accented’. Te opening Te frst page is in 4, except for one bar (the sixth) in 4. Tere are two themes. Te end 9 6 two bars are in 8 and the rest of the piece is 8. Te opening tempo increases gradually of each statement of the a theme ends with Native American ‘honour beats’: distinctive, as the piece progresses, and its accents become sforzandi in fortissimo passages. It is loud, steady drum-beats at the end of a song or long section of music that signal to 9 6 monothematic. Afer a two-bar ‘drum beat’ introduction in 8, the seven-bar theme, in 8, the dancers when to stop. Te pow wows I have attended usually play an odd number with a chromatic eighth bar of transition at the end, is stated twice on G (starting pitch) of beats on the large drum; the dancers know exactly how many honour beats will be and then once on D, but only fve bars in length this time, plus a sixth chromatic transition played and so can stop dancing on the very last one. Here there are six beats to begin bar; then comes another seven-bar statement on G plus a chromatic transition bar, and with, and seven on other occurences; afer the last statement of a, before theme b, there another fve-bar statement on D, this time followed by two emphatic bars emphasising are nine. Six honour beats is unusual; I believe Farwell simply didn’t know that and so 9 3 tritones. Tere follows a section labelled ‘A little faster’, which is an extension of the used six here to ft his design. Te b theme is in 8 and 8, changing back and forth almost opening theme, on a higher pitch, A, with similar rhythm; it forms a central section. every bar (on page 8 of the score, for example, it changes ffeen times). When theme a Te frst part of the theme is stated once more, abbreviated, f and in the highest register returns, it is the same as when frst heard, except for the addition of three bars of difcult of the piece, seven bars before the end. Each statement of the theme is preceded by an contrary-motion octaves, followed by the fnal seven accented honour beats that end ascending chromatic scale with the hands a fourth apart. the war dance; and it also has a more authentic seven honour beats. Te piece centres Tere are two versions of Navajo War Dance No. 1, one considerably shorter than around E for both sections, although the sense of key is weak, and tension is created by the other (here I play the longer of the two). Te last chromatic passage in the shorter the long sustained crescendos rather than modulation. (Farwell uses the key-signature version descends. Te longer version ofers 39 further bars of the same rhythms and of E major, and the tonic is indeed E, but the third is avoided and the predominant passagework and then uses a longer glissando at the end and a characteristic Native intervals are the ffh and the second, with constant chromatic ‘drum’ accompaniment, 6 American rhythm, which changes the rhythm from two main accents per bar in 8 to so that a tonal feeling of major or minor is avoided, which is more authentic. Hailed as 3 a feeling of 4 with three main accents per bar, for two bars, before the fnal two bars. one of Farwell’s best pieces by the pianist Rudolph Ganz, president of Chicago Musical Farwell orchestrated the longer version as a movement in his Indian Suite, Op. 110, of College, Navajo War Dance No. 2 was one of the last pieces to be published by Farwell’s 1944. Here he requests the strings to exert scratchy pressure on the strings, asking that it Wa-Wan Press, probably in 1905. should always be marcato and to be sure to begin it slowly enough. Tese days we take for granted that there are American composers. But Arthur Farwell’s 17 16 ‘Pawnee Horse’, No. 2 of From Mesa and Plain, was recorded on my second volume of Farwell’s piano music, on Toccata Classics essays on American music, Wanderjahre of a Revolutionist, make it clear that there was tocc 0222. 17 Cf. note 2 on p. 3. 13 a time when American composers and their works were not admitted to the mainstream of classical music – a situation that required correction. Farwell was the champion of this cause, and his accomplishment deserves to be more widely known. Farwell indeed was the father of the Indianist movement and did lead the way for American composers to heed Dvořák’s challenge to create an identifable American concert idiom, based on the music of America’s indigenous culture, the Native Americans. But Farwell’s mission for American composers went so much further than that. Te value systems of the early settlers and their descendents led them to believe that to be educated in the fne arts, American people must be trained in the only real music – European music. Tat is how concert societies chose their repertoire, how concert programmes were planned, how the curricula of music schools were designed. Te reason is obvious: in the early settlements there were no American classical composers as yet,18 and so customs, traditions and schools were set up based on the European music they already knew. It followed that ‘American music’ must be merely folk-music, rather than a contribution to the fne arts in its own right. Farwell saw the shortsightedness of this view and boldly set about correcting it, encouraging American composers of classical music to step forward. In one of his essays, he states: the great managerial and publishing organizations of the East are planted frmly […] in the immense industry of selling America its European music. Te very ground under the rock shifs when the creative idea in American music springs into being and America begins to look to herself for her music. Even these great organizations must begin, not without great inconvenience, to undergo readjustments. And so all down the line the American composer trying to get a hearing sings, with the witches in Macbeth, ‘Double, double, Toil and trouble.’ Neglected? Not a bit. He has not been in the game long enough to be neglected. He is a new kind of man, these ten, twenty, ffy years past, fghting for standing-room in a place where no provision has been made for him. 19

18 For example, a set of three trios, for two violins and cello, Op. 3, of c. 1790, by John Antes (1732–1811) is the earliest known chamber music by a composer born in America – although a letter from Antes to Benjamin Frankel, dated 10 July 1779, documents a set of ‘Six Quartettos’, now lost. Antes was also one of the earliest instrument-makers in American history. 19 ‘Te Idea of the American Composer’, op. cit., p. 148. 14 a time when American composers and their works were not admitted to the mainstream I found hampering conditions surrounding the performance of American compositions of classical music – a situation that required correction. Farwell was the champion of and surrounding the publication of them. Artistically, and commercially, there was this cause, and his accomplishment deserves to be more widely known. Farwell indeed pathmaking to be done. Te infuence of society, taking the term broadly, must be brought was the father of the Indianist movement and did lead the way for American composers to bear on gaining adequate performance of American works.20 to heed Dvořák’s challenge to create an identifable American concert idiom, based on Since American publishers were hesitant to publish works by American composers, the music of America’s indigenous culture, the Native Americans. But Farwell’s mission Farwell founded the Wa-Wan Press, almost literally putting his money where his mouth for American composers went so much further than that. was: it operated from the Farwell family home. It was an article of Farwell’s, moreover, Te value systems of the early settlers and their descendents led them to believe ‘Society and American Music’, which led to the foundation of the National Wa-Wan that to be educated in the fne arts, American people must be trained in the only real Society in 1907, reorganised the following year as the American Music Society, which music – European music. Tat is how concert societies chose their repertoire, how established centres across America. Farwell’s further eforts on behalf of American concert programmes were planned, how the curricula of music schools were designed. music on all strata of American society are documented in the anonymous biographical Te reason is obvious: in the early settlements there were no American classical essay on the website of the Library of Congress:21 composers as yet,18 and so customs, traditions and schools were set up based on the In addition to his involvement with the Wa-Wan Press and Society, Farwell served as the European music they already knew. It followed that ‘American music’ must be merely chief music critic for Musical America in New York from 1909 to 1914. He was appointed folk-music, rather than a contribution to the fne arts in its own right. Farwell saw the Supervisor of Municipal Concerts in New York […] in 1910 and composed music for shortsightedness of this view and boldly set about correcting it, encouraging American community pageants – enormous outdoor events that he felt could evolve into a new composers of classical music to step forward. In one of his essays, he states: American art form, comparable in power to Richard Wagner’s music dramas. In 1916 he the great managerial and publishing organizations of the East are planted frmly […] in co-founded the New York Community Chorus (the frst community chorus in the country), the immense industry of selling America its European music. Te very ground under the efectively coining the term. Over the course of the next ten years, Farwell’s career shifed rock shifs when the creative idea in American music springs into being and America to the West coast, and he organized community choruses wherever he went: frst at the begins to look to herself for her music. Even these great organizations must begin, not University of California-Berkeley, while chairing the music department; then in Santa without great inconvenience, to undergo readjustments. And so all down the line the Barbara, where he was instrumental in forming the Santa Barbara School for the Arts; and American composer trying to get a hearing sings, with the witches in Macbeth, ‘Double, fnally in Pasadena, while writing music for the Pilgrimage Play, a pageant based on the double, Toil and trouble.’ Neglected? Not a bit. He has not been in the game long enough life of Christ. Te U.S. Army hired Farwell during World War I to serve as the Army’s frst to be neglected. He is a new kind of man, these ten, twenty, ffy years past, fghting for consultant on group singing. […] 19 standing-room in a place where no provision has been made for him. In 1927, Farwell was appointed head of the theory/composition department at Michigan State Agricultural College (now Michigan State University), where he continued to compose 18 For example, a set of three trios, for two violins and cello, Op. 3, of c. 1790, by John Antes (1732–1811) is the earliest known chamber music by a composer born in America – although a letter from Antes to Benjamin Frankel, dated 10 July 1779, documents a set of ‘Six Quartettos’, now lost. Antes was also one of the earliest instrument-makers in American history. 20 Ibid., p. 149. 19 ‘Te Idea of the American Composer’, op. cit., p. 148. 21 Online at https://www.loc.gov/item/ihas.200035729/. 15 amidst a busy teaching schedule. In the late 1930s and 40s, John Finley Williamson commissioned six arrangements of Farwell’s early Native American piano pieces for the Westminster Choir. Tese eight-part a cappella works are noteworthy for their use of Indian ‘vocables’ (words without meaning) as well as for Farwell’s experimentation with extended vocal techniques. Farwell retired from teaching in 1939 and moved back to New York City. During his fnal decades he wrote a philosophical work titled Intuition in the World-Making, which discusses intuition’s role in the creative process, incorporating drawings and analyses of his artistic visions. Tough he was a prolifc and important composer, Farwell is remembered primarily as a critic, publisher, and champion of American music. He died in New York City in 1952 afer a short illness.

Lisa Cheryl Tomas graduated with a Doctor of Musical Arts degree in piano performance from the University of North Texas in 2010, her teachers to that point including Joseph Banowetz, Helen Barlow, Dorothy Gideon, Jim Giles, Adele Marcus, Alfred Mouledous, Bobbye Ossman, Virginia Queen, Adam Wodnicki and Jan Wiest Ward. Her doctoral thesis, Native American Elements in Piano Repertoire by the Indianist and Present Day Native American Composers, presented at the University of North Texas, Denton, in 2010, can be read online at www.digital.library.unt.edu/ark:/67531/metadc28485/ and was published by ProQuest in 2011; Smithsonian, the magazine of the National Museum of the American Indian, published her article ‘Composers and Indians: Te Search for a National Style Preserved Native Tradition’ in summer 2010 (Vol. 11, No. 2). Reviews and lists of awards, scholarships and performances can be read at her website, www.lisacherylthomas.com. She is herself of Native American stock, counting members of the Cherokee, Blackfoot and Sioux tribes among her ancestors, and her concert performances, research and lecture recitals on Native American and ‘Indianist’ piano repertoire are awakening a new enthusiasm and interest in this music. Te organisations she has addressed include several music-teacher associations (among them the Texas Music Teachers’ State Convention in Arlington in June 2010), and her recital programmes have been presented at Te National Museum of the American Indian of the Smithsonian and the Millennium Stage of Te Kennedy Center for the Performing Arts in Washington, DC. She has concentrated on this branch of the piano repertoire since premiering

16 amidst a busy teaching schedule. In the late 1930s and 40s, John Finley Williamson Tom Hofmann’s Voices of Our Ancestors commissioned six arrangements of Farwell’s early Native American piano pieces for the in 1994, for prepared piano and rhythm Westminster Choir. Tese eight-part a cappella works are noteworthy for their use of instruments (Native American drum, Indian ‘vocables’ (words without meaning) as well as for Farwell’s experimentation with wind chime, turtle-shell rattles, rain-stick, extended vocal techniques. natural-bone wind-chime) in the Weill Recital Hall in Carnegie Hall in 1995. She Farwell retired from teaching in 1939 and moved back to New York City. During his premiered her own works, written under the fnal decades he wrote a philosophical work titled Intuition in the World-Making, which name of Delisgidv (the short version of her discusses intuition’s role in the creative process, incorporating drawings and analyses of his Indian name), at her Smithsonian Kennedy artistic visions. Tough he was a prolifc and important composer, Farwell is remembered Center concerts, as well as at the Presidio in primarily as a critic, publisher, and champion of American music. He died in New York City San Francisco in 1999 and in several other in 1952 afer a short illness. concerts, including her doctoral dissertation recital. She is continuing her research with First Nation indigenous music and culture, Lisa Cheryl Tomas graduated with a Doctor of Musical Arts degree in piano performance giving presentations and performances of from the University of North Texas in 2010, her teachers to that point including Joseph solo piano and chamber music. Her most Banowetz, Helen Barlow, Dorothy Gideon, Jim Giles, Adele Marcus, Alfred Mouledous, Bobbye recent awards include a Fulbright Scholarship for January–May 2017, becoming the Fulbright Ossman, Virginia Queen, Adam Wodnicki and Jan Wiest Ward. Her doctoral thesis, Native Visiting Research Chair in Arts and Humanities at the University of Alberta, Edmonton. American Elements in Piano Repertoire by the Indianist and Present Day Native American During her main Fulbright tenure she received the Fulbright Visiting Scholar Speakers Award, Composers, presented at the University of North Texas, Denton, in 2010, can be read online at with a formal invitation from Brock University, St Catharines, Ontario, in April 2017, as well www.digital.library.unt.edu/ark:/67531/metadc28485/ and was published by ProQuest in 2011; as the award of the Fulbright Western Hemisphere Regional Travel Program grant, with formal Smithsonian, the magazine of the National Museum of the American Indian, published her invitations from the Institute of Culture in Cuzco, and the National Conservatoire of Music article ‘Composers and Indians: Te Search for a National Style Preserved Native Tradition’ in in Lima, Peru, in April 2017. She performed formal concerts in each location as well as giving summer 2010 (Vol. 11, No. 2). Reviews and lists of awards, scholarships and performances can lectures to students of composition and musicology, and in several other departments at the be read at her website, www.lisacherylthomas.com. University of Alberta. While in Edmonton, in March 2017, she gave a concert at Te King’s She is herself of Native American stock, counting members of the Cherokee, Blackfoot and University on Glenn Gould’s concert grand piano. Afer returning from Peru, in April 2017, Sioux tribes among her ancestors, and her concert performances, research and lecture recitals on she presented and performed Arthur Farwell’s Piano Quintet with members of the Edmonton Native American and ‘Indianist’ piano repertoire are awakening a new enthusiasm and interest Symphony Orchestra in a setting that included a lecture and open rehearsal for students and in this music. Te organisations she has addressed include several music-teacher associations faculty at the University of Alberta; she also judged a student composition competition of (among them the Texas Music Teachers’ State Convention in Arlington in June 2010), and her original works based on authentic indigenous melodies collected by ethnographers. In each recital programmes have been presented at Te National Museum of the American Indian of Fulbright performance and lecture, she inspired students to continue the challenge that Dvořák the Smithsonian and the Millennium Stage of Te Kennedy Center for the Performing Arts in put to composers over a century ago – to create a uniquely American concert idiom based on Washington, DC. She has concentrated on this branch of the piano repertoire since premiering America’s own rich indigenous culture.

17 Already released on Toccata Classics 0126 0222 tocc tocc

‘the love she feels for this music is near ‘these works give us a taste of Farwell’s palpable. Her musicological background stylistic variety – ofen overlooked in work is impeccable, too, as she used favor of his “Indianist” works. Tomas, facsimiles of Farwell’s manuscripts in herself part Cherokee, approaches this preparation for this recording. She pens music with warmth and imagination’ her own wide-ranging booklet note, American Record Guide also, which itself makes for fascinating reading. Recommended’ Fanfare

18 Recorded on 24 and 25 November 2016 at Potton Hall, Westleton, Sufolk Piano: Steinway D Producer-engineer: Michael Ponder Editor: Jennifer Howells

Booklet essay: Lisa Cheryl Tomas Cover design: David M. Baker ([email protected]) Typesetting and lay-out: Kerrypress, St Albans

Executive producer: Martin Anderson

© Toccata Classics, London, 2018 ℗ Toccata Classics, London, 2018

Toccata Classics CDs are available in the shops and can also be ordered from our distributors around the world, a list of whom can be found at www.toccataclassics.com. If we have no representation in your country, please contact: Toccata Classics, 16 Dalkeith Court, Vincent Street, London SW1P 4HH, UK Tel: +44/0 207 821 5020 E-mail: [email protected]

19 ARTHUR FARWELL Piano Music, Volume Three

1 Piano Sonata, Op. 113 (1949) 18:05 2 For Cynthia (1942) 3:03 3 Laughing Piece (1914, rev. 1940) 2:44 Two Little Poems for Piano, Op. 106 (1942) 4 No. 2 Strange Dream 2:54 In the Tetons, Op. 86 (1930) 21:05 5 I Granite and Ice 4:46 6 II Lonely Camp Fire 3:36 7 III Arduous Trail (Humoresque) 4:38 8 IV Wild Flower 2:19 9 V Wind Play 3:06 10 VI The Peaks at Night 2:40 11 What’s in an octave?, Op. 84 (1930) 10:56 From Mesa and Plain, Op. 20 (1905) 12 No. 1 Navajo War Dance 2:55 13 Navajo War Dance No. 2, Op. 29 (1908) 4:57

TT: 66:41

Lisa Cheryl Thomas, piano FIRST RECORDINGS

20